KING HAS A VERY KEEN MEMORY.

Star (Christchurch), Issue 17836, 3 May 1926, Page 4

KING HAS A VERY KEEN MEMORY.

BLIND . EW ZEALANDERS AND A COINCIDENCE.

(Special to the “Star.”) LONDON. March 25. So vividly were the joy's of his Empire tours recalled to the King when, with the Queen, he visited the Exhibition of the work of Australian, Canadian, New Zealand, and South African artists at the Old County Hall, Trafalgar Square, yesterday morning, that lie spent some time in silent reflection. The artists, who were present, were amazed alike by his keen memory and his exceptional general knowledge. “Ah’ Lake Rotorua Springs!” he said delightfully, standing before a painting that was merely catalogued “A New Zealand Gey'ser,” by the New Zealand painter, R. S. Ilellaby. “How well I remember it! I was amazed by its beauty when I stood on that identical rock in the foreground.” • He next stood entranced by a picture—“ Lake Louise.” by’ the Canadian artist Leonard Richmond—that showed snowy mountains sloping down to a lake. “It is named after my aunt,” he said, adding, with a smile, when the people round him were quiet, as if they were not sure, “Oh, y r es. You will find I am right.” “A very speaking likeness of a dear fellow whom I know well and like much.” was his comment on James Quinn’s portrait of Sir George Reid, late High Commissioner for Australia, and a moment later the King was expressing an expert appreciation of the colouring of a portrait by a South African artist.

He stood for a minute before a portrait of Mr C. R. Allen. ‘“The blind son of Sir James Allen,” he said. “It is pathetically strange that two High Commissioners for New Zealand should have sons who became blind.” The company had not heard that there were two, but the King added: “There was, you will remember, the son of High Commissioner Mackenzie, blinded during the war.” One picture, bearing no description, portrayed two blood-red talons of a giant bird with a tiny human figure in one of them. His guides did not know what it was without consulting the catalogue, but the King told them at once that it illustrated a very’ delightful part of “Arabian Nights.” He was prompted by study' of a “Portrait of Self” by a young Australian, A. J. Murch, to inquire about the artifet,” and, learning he had won a travelling scholarship from New South Wales, said he hoped the young man would do well and he would like to get news of his progress. . He showed this sympathy' again when looking at a portrait study of “Mr James Barry,” by’ Charles Shephard, who recently was discovered in very humble cnrcumstances in a London garret. Fie asked whether Mr Shephard was now in better circumstances, and expressed pleasure at hearing that he was getting commissions. # He examined the work closely to see whether Mr Sheppard had got his white effects by using white paints or leaving white canvas blank, and here the King hit on a little secret of the artist. Mr Shephard had used white because he had no tube of the colour he wished to use. “ ‘Listening In.” ’ said the King, reading the title of a picture showing a

man wearing ear-phones. “That is what I do some times.” Someone commented that the witchdoctor in one picture had a very strong face. “Yes,” laughed the King, “developed, I suppose, through constant telling the tale.” The Queen showed a woman’s disappointment when she found that two small figures by Miss Nancy Vincent, of South Africa, were sold. A little later, however, the Queen bought a little etching, “Romance,” by another South African artist, D. Kay. On leaving, the King expressed his delight at the ambition of the Dominion Artist’s Club to help all forms of art, and particularly to look after the young artist. “It is a good work and you must keep it up.” he said.